Intoxicating, nyabinghi-driven roots reggae showcasing the hypnotic and mystically attuned styles of Ras Michael & The Sons of Negus at Black Ark in 1980.
A spiritual successor of sorts to that Dadawah LP, which was also reissued by Dug Out and which left such an indelible mark on our listening lives, Promised Land Sounds - Rockin Live Ruff N Tuff is distinguished by a more upward, bubbling battery of drummers and drenched in widely reverberant, echoic FX perfectly captured by Lance on the Black Ark desk.
The vocals are floating five feet high and deeply devotional, lead by Ras Michael chanting, squawking and holding his own amidst a wavy haze of drums and vibes whose cloud like dimensions sounds as though the recording was exhaled onto wax rather than inscribed.
It’s proper communal music, rolling with the kind of timeless, rounded pressure that comes from lots of time spent playing together, somewhere between The Upsetters and Sun Ra for levels of cosmic intuition and elevation, especially so in the otherworldly 15 minutes of I Ya I.
Not to be missed!!!
If ever a phonographic accomplishment could encapsulate the precise modus operandi of Finders Keepers' Cacophonic label, then the ‘Expériences Musicales’ sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement Jean Dubuffet would be a prime candidate.
"Originally released as an impossibly rare six record box set containing Dubuffet’s first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960’s recordings show a lesserknown side of this important artist’s personality. From an original promoted artefact (which can now command fees of up to 5000 Euros complete with its original art-prints intact) this highlighted version of ‘Expériences Musicales’ is now available again on authentic vinyl to the wider public.
Finally released to a wider audience and presented complete with Dubuffet’s signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu."
John Duncan and Andrew McKenzie (The Hafler Trio) explore the greyest areas of psychoacoustic and psychosexual drone noise back in 1991, newly remastered for this reissue on Oren Ambarchi’s Black Truffle.
“Black Truffle is thrilled to announce the first reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with 'Delta', which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding 'The Immense Room', where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work.
- Francis Plagne”
Oren Ambarchi’s Black Truffle label coughs up the eighth live document of his nonpareil trio with the legendary Keiji Haino and Jim O’Rourke. All considered, these guys are pretty much the tightest/loosest avant instrumental group out there right now, blessed with a time-and-space bending dexterity that allows them to fuse some half century of research in free jazz, out rock and kosmiche electronics into blinding new forms.
On the A-side they prowl like a pack of predatory animals hunting down a noble but tired old prey, methodically and precisely attacking and breaking down the lumbering body of rock music in an increasingly ferocious whirlwind of fanged guitar slash and tearout percussion until they’re bathing a strangely tranquil bloodbath. With the B-side they lock into a martial distortion drill around Ambarchi’s steady, Wold-like snares rolls and sky-collapsing harmonics with stoically unrelenting force.
Side C brings the trio at their most abstract, moving from near silence, perforated only by the shivering chimes of toy piano, spookily signing into he ether where Haino exclaims in English from somewhere deep in the unfathomable mix, and O’Rourke petrifies the air with ungodly, alien EMS synth voices that speak to us in the uncanniest way. All change again on Side D, as they broach the 4th wold thru some back door entrance, scanning its undergrowth with Haino’s flute, vox and guitar urged on by pouring tribal toms until hey lay waste to the scene with pure guitar napalm.
I:Cube packs 6 serious heaters on the 120th release from Versatile, the long-running label he co-operates with Gilb’R.
LP 1 throws down a sort of demented cumbia-house style lit with see-sawing accordion in Flutes Souterraines, along with the chunky electro-house jaxx of Troglo Dance before curving into psychedelic slow acid a la Tin Man or The Analord in Bifurque.
On disc 2 he restlessly shifts the pattern again to a sort of brilliantly skewed gamelan dance with La Nuit Des Rats, then synking into viscous cosmic disco chug on Ramurc, and saving the googley-eyed 6am business of Fractal P for the most lip-smacking moments of the night.
Trippy, rugged and mutant electro-dub slugs from Belp on Munich’s Jahmoni Music...
Fair to say that help have coined their own sound here, melding the kind of brute but agile drum machine rhythm found on a Prostitutues release, with a madcap palette of vibes that jumps from kosmiche synths to dub and jazz in a silty mix of ambient and noise textures.
Destruction Unit drummer Andrew Flores presents his electronic music on Ascetic House
A mixture of live improvisation drawing on his talents as a percussionist, along with phasing ambient minimalism and spats of distorted noise.
A total collector’s fancy from 1990, the hypnotic percussions of ‘Elephant’s Easy Moonwalk Through The Night’ finds an ideal new home on Bernd Friedmann’s nonplace.
Drum nuts, dancers and ersatz ethnomusicologists will have a field day with this one.
Prolific experimenter Graham Dunning brings his improvised mechanical “techno” schtick to Adaadat with the Way Too Much Time EP.
"'Way too Much Time' is a 12" album from Lancashire born London-based sound artist and experimenter Graham Dunning. The tracks contained on this record are live recordings all generated via his Mechanical Techno Machine. A highly modified and elaborate turntable setup, that he has been refining now for a number of years. A video demonstrating his Mechanical Techno setup on You Tube went viral, attracting over 2 million views.
His music has been released on numerous record labels including; Seagrave Records, Entr'acte, Arell, Black Plume Editions, Bum Tapes, Raw Tonk, Earshots, Sound Holes, Raw Tonk in addition to his own imprint Fractal Meat Cuts. Dunning is also a prolific improviser collaborating with the likes of Colin Webster, Sam Underwood, (The three of them comprising DunningWebsterUnderwood), Tom Wallace, Bobby Barry and Stuart Chalmers. Dunning also performs as a member of the drone-improv collective AAS. He has also played drums in Manchester-based noise duo Blood Moon and experimental pop/kraut group Now. "Building up his teetering mechanical techno machines; or Sarah Kenchington trying not to fall off her chair while playing a hat-mounted horn, auto-violin, pedal-powered hurdy-gurdy and washing-machine-drum sequencer."
Sam Underwood (The Wire)
Oren Ambarchi’s Black Truffle sustains a golden run of releases on this richly enigmatic follow-up to his collaborative project with regular foil James Rushford and Kassel Jaeger of the GRM; the same Parisian facility where they recorded Face Time.
To our sensibilities, the results recall a genteel ketamine trip on a sunny day, where the dosed up listener perceives the world around them as an elusive whorl of disembodied voices, fractal pattern and ill logic. Mind, the putative “bad” side effects of K don’t really apply here, just the the sense of temporal dislocation and cognitive dissociation.
“The record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts and the sound of a Cristal Baschet to take centre stage, but each time returning with the inevitability of a an idée fixe.
Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics.”
Sniffing at the heels of a smart début 12" for Interstellar Funk's Artificial Dance, Worries, Job Sifre slips into a grimier EBM mode for Amsterdam’s excellent Knekelhuis label.
Charged with a pharmaceutically-enhanced restlessness, the Bestaan 12” goes on darker, tuffer, kinkier than Sifre’s previous 12”, gradually bringing the energies to simmering point with the smudged EBM roil and blunted Dutch vox of Bestaan, then working a wicked ruts of White House White-styled jakbeat in Zodiak and the sourer, metallic recoil of Mars Express, and properly making your body wurk with the pendulous tattoo, Zeno Dicho before sloping off into the darkroom with the slower disco admission, At Least We Try.
“HESITATION is the culmination of a slow-burning penpal friendship between Reckno founder Chris Catlin (aka Yaaard), and Kit Records honcho Richard Greenan (sometimes Devon Loch). Meeting in London in 2016, the pair recorded a woozy slab of improvs, using a battered organ, guitars, a saxophone and whatever else came to hand. These takes were then stitched together into a seven track LP over the following two years.
Veering from shoegaze to crystal clear electronics and fuzzed out jazz, the results pull two ways: slow and fast, meditative and exuberant. Here is a place where time bends and bubbles, drunk synthetic choirs follow an endless skywards pulse, and plaited melodies hover in warm air like motes of dust.
Recommended if you like the heart-on-sleeve whistle alongs of Tenniscoats, Zappa's befogged guitar serpents or the creeping black magic of early Sebadoh.”
“"Lead track ‘All’ is an immediate statement of intent; a heart wrenching lamentation set to urgent, intricate percussion and soaring live strings. An early demo of ‘All’ caught the attention of Zane Lowe, who championed the unsigned Long Beach native, who was working as an understudy for some of the city’s most innovative soul producers at the time.
Following a deal with Black Acre and a reworking of the track, Pharrell Williams and Scott Vener debuted ‘All’ in their OTHERtone guest mix on the season two premiere of OVO Sound Radio on Beats 1.
Three further tracks will come together to comprise Copper’s astonishing debut body of work. From the cinematic awe of 'All' through the cold Vaudeville trap of 'Daemon' to the Fela swing of 'Requiem' and aching folk roots of 'Cure', Copper refuses to be pigeonholed. His unmistakable voice glides through expansive soundscapes, drawing influences old and new, from his Togolese heritage to artists as broad as Nina Simone and Thom Yorke, defying any labels that one might be tempted to impose upon the elusive up-and-coming artist.
Engaging and emotionally resonant, Copper’s innovative song craft is a force to be reckoned with, placing him firmly up there with the best of Black Acre's notorious debutants.
New York Jazz ensemble Onyx Collective release their debut album ‘Lower East Suite Part Three’
"Isaiah Barr, leader of Onyx Collective, has frequently collaborated with other New York musicians such as Dev Hynes (Blood Orange), Nick Hakim, Julian Soto and Wiki (Ratking).
For fans of Nick Hakim, Ezra Collective, Yussef Kamaal, BadBadNotGood, Shabaka Hutchings, Moses Boyd."
Two years since his Mango Bay introduction (nearly 1 million views on YouTube and counting), Bojan Cizmic reprises a happy garage house sound for Hot Haus Recs
Running the debonaire nostalgic vibes of XTC IV next to Kornel Kovacs’ extra-swung and layered remix, and two well skooled stripes of deep NYC garage in Soft Touch and XTC II.
All you E’d up ‘90a mistake babies, eat your Kappa-plated hearts out right here, right now.
A killer selection of nine cherry-picked new wave, disco and rhythmic electronic experiments hailing from early ‘80s in The Netherlands, documenting a time when formulas weren’t set quite as rigidly they would become and artists weren’t afraid to mess around, see what happens.
Accompanied by sleeve notes from Knekelhuis’ Mark van de Maat and with input from esteemed diggers/lynchpins such as Frans De Waard, Kale Plankieren - Dutch Cassette Rarities 1981-1985 Volume I throws up some real gems primed for the ‘floor.
We’re talking Necronomicon’s fretless bass funk, cowbell tickles and louche vocals on The Top, catching the duo in dubby transition from earlier, noisier styles to disco proper - think Arthur Russell meets Ian Dury - and likewise the irresistible bounce of Don’t Forget Me by Plus Instruments, fronted by Truus de Groot around the same time she was playing shows at CBGB’s. Expect track ID requests if you’re DJing this out!
On the other hand, the more wayward bits are superb, too. Rotterdans’ Interference is a haunting piece of communal electronics full of scrapes, spectral vox and airborne pulses extracted from day-long psychedelic sessions; Boris Dzanek’s Dance is well tipped to the cold wave steppers; and Roy G. Biv really get to your back teef with the bittersweet dissonance of Ulloa’s Ring.
If you’ve been following Knekelhuis’ new and reissued releases from Smersh, Parrish Smith, De Ambassade and more, you need to check this out.
Virtually clad in the best artwork of 2017, Sometimes The Going Gets a Little Tough is Finn’s unmissable volley of bittersweet dance music for “trying times”. As one of the sickest DJs in operation in Manchester, and a key member of its burgeoning new wave of producers, Finn’s rep has spread far and wide in recent years, bringing him to this, his definitive release to date.
Landing six months after the Late At Night pearl on his 2B Real label, Finn gives the dance a much needed dose of raw, rude and emosh dance trax, fully indulging his fetish for regional US club styles and classic UK ‘80s and ’90s vibes with devilish swerve and stacks of ear-worming hooks.
There’s flavours for all ravers inside, filtering the funk from your toes to ya nose in the Roulé-esque chops of Who This Is (It’s P), while Rider (Some Rules Mix) allows a trace of melancholy into the mix with wickedly contrasting and very Manchester-styled effect. Give Us A Hand brings the vibe gauge right back up with an irresistible blend of filter house, speed garage and Jersey Club funk, while Trying Your Best gives it up for the strugglers, initially blue and downcast but getting there with a strong 2nd wind of ghetto house rudeness, leaving the creamed R&B lixx of So Confused to speak for all of us.
Game. Set. Match. This is a proper Bobby Dazzler.
Incredible wordless exercise in voltage control and psychoacoustic trippiness from the ever unpredictable and unfathomably visionary Richard Youngs.
On this one he provides a 30 odd minute tangle that sound like Nate Young hacking into and playing a street light next to a motorway underpass. Brilliant, natch.